
ALT A quote from one of the composers, Scott Stinson, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image text reads I was brought in to write the ‘main track’ of the game. Andrea (pre-patch audio lead) gave me a lot of context and diverse musical references to wrangle all together…Our main character finds herself in troubling circumstances, but paradoxically, the musical impression of the train was to be eerily soothing…

ALT A quote from one of the composers, Scott Stinson, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. I decided to sample and manipulate some violin lines from the main menu music (performed beautifully by Max Lincoln) and from that, the backbone of the musical track was created. After that, I worked to strike the balance between the near sedative tranquility and unearthly mystery.

ALT A quote from one of the composers, Noah Campodonico, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image text reads: One of the first things I worked on when I joined the project was the attraction/decay sounds. Originally, I'd wanted to keep it simple and use a classic bellhop call bell, but after feedback from Naj, I ended up incorporating a gamelan into them as a reference to Vivi's Southeast Asian heritage.

ALT A quote from one of the composers, Armoni Boone, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image Text Reads: “Darius’s haunting theme used vocal samples for those eldritch ASMR sounds. Asha’s theme needed to be vibrant, like her, and utilized strings and vocals with little- to-no percussion Susu’s theme benefited the most from Noah’s direction for a summer Ghibli vibe. Instead of solely using a marimba, the score sampled the experimental instrument, Korg’s Phase 8n, for a warm-yet-otherwordly sound.

ALT A quote from one of the composers, Noah Campodonico, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image text reads: The horror stingers all use my own voice in some capacity. Whether that's making horrible guttural sounds or just whispering ominously, my own mouth sounds are in there contributing to the atmosphere!

ALT A quote from one of the composers, Armoni Boone, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left.

ALT A quote from one of the composers, Noah Campodonico, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image text reads: The horror stingers all use my own voice in some capacity. Whether that's making horrible guttural sounds or just whispering ominously, my own mouth sounds are in there contributing to the atmosphere!

ALT A quote from one of the composers, Scott Stinson, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image text reads I was brought in to write the ‘main track’ of the game. Andrea (pre-patch audio lead) gave me a lot of context and diverse musical references to wrangle all together…Our main character finds herself in troubling circumstances, but paradoxically, the musical impression of the train was to be eerily soothing…

ALT A quote from one of the composers, Scott Stinson, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. I decided to sample and manipulate some violin lines from the main menu music (performed beautifully by Max Lincoln) and from that, the backbone of the musical track was created. After that, I worked to strike the balance between the near sedative tranquility and unearthly mystery.

ALT A quote from one of the composers, Noah Campodonico, sits in the center of the post. It details a behind-the-scenes look at the music for the game. Their portrait is on the lower left. Image text reads: One of the first things I worked on when I joined the project was the attraction/decay sounds. Originally, I'd wanted to keep it simple and use a classic bellhop call bell, but after feedback from Naj, I ended up incorporating a gamelan into them as a reference to Vivi's Southeast Asian heritage.

ALT Image text: “Implementing the voiceover (VO), we had to keep track of almost 5000 different identifiers (one for each dialogue line) that kept changing every time we made a change in the code! This was a big headache but the VO and narrative teams did an excellent job of tracking every change during production and QA spotted and helped us fix all the errors that arose.”














![Image text: “My favorite programming challenge for the patch was scripting the new visual effects like highlighting speaking characters, having animated expressions, and lighting effects in the backgrounds! [T]hey help make the characters and the world...really come alive.”](https://pbs.twimg.com/media/GfVpIevWMAARrRh.jpg?name=small&format=webp)